Jeff Folschinsky is an author who likes to blend horror with the absurd, with a dash of funny. His book Hell Incorporated recently won The Book Fest 2nd Place in the Fiction-Fantasy-Humorous Category. I was able to interview Mr. Folschinsky at the Eastern Rom Con and learn where his unique perspective comes from.
If it’s weird, wired, or a little bit wicked, chances are Jeff Folschinsky has written a script about it. In an entertainment landscape that often favors the safe and predictable, Folschinsky has spent years carving out a distinct niche across North American theater and digital media. While he wears many hats in the creative community, Folschinsky is a writer first and foremost. His true creative north star has always been the written word, specifically channeled into his main passion: crafting offbeat horror, dark science fiction, and irreverent pulp stories.
For fans of cult cinema, indie theater, and late-night audio dramas, Folschinsky has become a reliable literary architect of the fantastic. At his core, he is a storyteller who refuses to let reality get in the way of a good punchline or a monster attack, constantly pushing the boundaries of genre writing to see just how beautifully bizarre a narrative can get.
Subverting the Stage: Scripting Horrific and Hilarious Melodrama
Fleshing out the vibrant Los Angeles theater scene, Folschinsky has long used the stage as a canvas for his peculiar storytelling. Associated closely with the Eclectic Company Theatre in North Hollywood, California, his penchant for camp, suspense, and serialization found a perfect home. As the creator and staff writer for Perilous and The Trials and Tribulations of Vicky Vixen, Folschinsky captured the lightning-in-a-bottle energy of a late-night soap opera spoof, keeping local audiences hooked with cliffhangers, paranoia, and sharp satirical wit.
But his theatrical scriptwriting footprint extends far beyond Southern California. Folschinsky’s plays have been staged by companies across North America, proving that his specific brand of offbeat humor and dark situations resonates well outside the indie theater bubble. His shorter catalog is a masterclass in high-concept titles and quick-witted pacing. Works like The Unsinkable Bismarck, A Pill By Any Other Name Is The Wrong Dosage, Rendezvous and Revelations, and Kisses From Abroad are widely available to theater troupes via the One Act Play Depot.
When it comes to long-form stagecraft, Folschinsky’s writing stands out for its structural precision and comedic timing. His full-length comedy Turkey Day secured its world premiere at the Eclectic Company Theatre before landing publications with both Norman Maine Play Publishing and Big Dog Play Publishing. Proving his versatility as a collaborative writer, he also teamed up with Tyler Tanner to co-author The Singing Bone, a piece published by JAC Publishing that showcases his innate ability to weave dark, eerie, folk-inspired elements into compelling dialogue.
Pulp, Print, and Demonic Clowns: The Core Fiction
Beyond the footlights, Folschinsky has found a natural second home in speculative fiction and pulp literature. The transition from writing stage dialogue to prose allowed him to unleash his imagination without the budget constraints of live theater. If a scene required an army of monsters, he didn’t have to worry about the theater’s prop budget—he just wrote it into existence.
This narrative freedom is on full display in his celebrated Tales from Little Lump series. An episodic venture into small-town eccentricity and comedic absurdity, the series showcases his gift for building strange worlds populated by unforgettable characters. The collection’s tone earned high praise from critics, with one reviewer famously summarizing the experience as being “laughed out loud, pee in my pants funny”—a testament to Folschinsky’s sharp comedic instincts.
However, Folschinsky’s ultimate love letter to the genre shines through in his book, Mr. Jacobs vs. The Demonic Clowns From The Great Beyond. Released through the indie horror outfit The Evil Cookie Publishing, this work represents the apex of his offbeat horror writing. The book reads like a vintage drive-in cinema feature, expertly blending cosmic dread with visceral, slapstick comedy. It highlights his unique ability to take classic terrifying tropes—like sinister clowns and cosmic invasions—and flip them into something uniquely entertaining and subverted.
Scripting the Airwaves and Indie Film
When he isn’t writing for live actors or printing paperbacks, Folschinsky applies his scriptwriting talents to the digital airwaves. Long before the recent boom in audio fiction, he recognized the power of the microphone as a medium for dramatic writing. He has written and produced a diverse slate of popular podcasts that cater to every corner of geek culture.
Listeners looking for atmospheric, unsettling mystery flock to Virgin Falls, a masterclass in building auditory suspense. Meanwhile, those seeking over-the-top melodrama tune into Pasiones Obsesionantes. For film buffs, Folschinsky co-created deep-dives into the margins of cinema history with The B-Movie Bastards and Cult Movie Cuisine, projects that allowed him to dissect the very tropes that inspire his own fiction. Currently, he channels his endless reservoir of obscure facts and engaging banter as the host of the popular podcast Meaningless Minutia.
His inherent love for cult cinema and genre writing naturally bled onto the silver screen when he made the leap to screenwriting. Teaming up with Tyler Tanner and Stephanie Wiand, Folschinsky penned the feature film Revenge of the Bimbot Zombie Killers. Directed by Joe Camareno, the project stands as the ultimate monument to Folschinsky’s creative mission: delivering high-energy, campy, and unadulterated genre entertainment through sharp, self-aware writing.
Whether he is writing about radioactive monsters, theatrical misadventures, or cosmic horrors lurking in small towns, Jeff Folschinsky remains a vital voice in modern independent media. He is a writer who reminds us that horror and humor are two sides of the same coin, and that stories don’t always have to be serious to be profoundly memorable.